Terse, economically paced, stylish and fascinating, the fifth and final film that Naruse directed in 1935 (it was released on 21 December of that year) was loosely inspired by Chekhov’s The Cherry Orchard, and was actually referred to as The Cherry Orchard (Sakura no sono) during production. It shares the Russian playwright’s theme of a family in decline, but relocates his story from an aristocratic milieu to that of a family-run business, and alters the structure of the family. A mother-daughter story becomes the story of Kenkichi, proprietor of a liquor store, and his two daughters by different women.

The contrast between siblings Kunie and Kimiko personifies the characteristic 1930s polarity between the kimono-clad traditional woman and the modern girl (moga). Masumi Tanaka aptly writes that “the contrast between the old-fashioned sister, who clings to traditional ethics, and the younger sister, who defiantly tries to escape into the modern world, foreshadows Kenji Mizoguchi’s Sisters of Gion, made the following year.” Older sister Kunie is again played by Sachiko Chiba, the lead actress in Tsuma yo bara no youni and P.C.L.’s top star.

The film was a critical success, earning Naruse his second mention in that year’s “Kinema Junpo” Best Ten critics’ poll, where it ranked eighth. It also scooped the top prize in a film competition sponsored by the Tokyo “Nichinichi Shimbun” (now the “Mainichi Shimbun”). “Kinema Junpo” critic Seiji Mizumachi wrote that Uwasa no musume made him feel “a particular appreciation of the talkie format”, which “helps to express the psychology of the drama”.

A few months later, Minoru Murata directed a more faithful adaptation of The Cherry Orchard, which was released under that title. But as Susanne Scherman notes, “Naruse was praised as having a better understanding and grasp of the original work.” According to Audie Bock, the success of the film ensured that Naruse would be able to work with artistic freedom at P.C.L.

Alexander Jacoby e Johan Nordström